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Hollywood's Masters of Illusion and F/X Cinema is illusion, and the 12 masters of magic to be found in this book are the best to be found in Hollywood. The films featured include: Terminator Two, Aliens, Living Dead, Hellraiser, Jurassic Park, The Fly, The Exorcist and many more. Ideal interested in learning the craft of movie make-up or for film buffs who want to know how its all done. Foreword by Clive Barker.
Paul Blaisdell was the man behind the monsters in such movies as The She Creature, Invasion of the Saucer Men, Not of This Earth, It! Terror from Beyond Space and many others. Working in primarily low-budget films, Blaisdell was forced to rely on greasepaint, guts and, most importantly, an unbounded imagination for his creations. From his inauspicious beginning through The Ghost of Dragstrip Hollow (1959), the construction of Blaisdell's monsters and the making of the movies in which they appeared are fully detailed here. Blaisdell's work in the early monster magazines of the 1960s is also covered.
The first systematic examination in English of Cronenberg's feature films, from Stereo (1969) to Crash (1996).
Presents the story of "The Wolf Man," examines how it was brought to life in 1941, and explores subsequent versions of the story throughout history.
This is a critical overview of monster magazines from the 1950s through the 1970s. "Monster magazine" is a blanket term to describe both magazines that focus primarily on popular horror movies and magazines that contain stories featuring monsters, both of which are illustrated in comic book style and printed in black and white. The book describes the rise and fall of these magazines, examining the contributions of Marvel Comics and several other well-known companies, as well as evaluating the effect of the Comics Code Authority on both present and future efforts in the field. It identifies several sub-genres, including monster movies, zombies, vampires, sword-and-sorcery, and pulp-style fiction. The work includes several indexes and technical credits.
"Rich detail and vivid anecdotes of adventure....A treasure trove of exotic fact and hard thinking." —New York Times Book Review For millennia, lions, tigers, and their man-eating kin have kept our dark, scary forests dark and scary, and their predatory majesty has been the stuff of folklore. But by the year 2150 big predators may only exist on the other side of glass barriers and chain-link fences. Their gradual disappearance is changing the very nature of our existence. We no longer occupy an intermediate position on the food chain; instead we survey it invulnerably from above—so far above that we are in danger of forgetting that we even belong to an ecosystem. Casting his expert eye over the rapidly diminishing areas of wilderness where predators still reign, the award-winning author of The Song of the Dodo and The Tangled Tree examines the fate of lions in India's Gir forest, of saltwater crocodiles in northern Australia, of brown bears in the mountains of Romania, and of Siberian tigers in the Russian Far East. In the poignant and troublesome ferocity of these embattled creatures, we recognize something primeval deep within us, something in danger of vanishing forever.
"In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched prosthetic effects, continuity errors, and celluloid damage in these movies. Such moments may very well be "failures" of various kinds, but in this book Kartik Nair reads them as clues to the conditions in which the films were once made, censored, and seen, offering a view from below of the world's largest film culture. Combining extensive archival research and original interviews with close readings of landmark films including Purana Mandir, Veerana, and Jaani Dushman, this book tracks the material coordinates of horror cinema's spectral images. In the process, Seeing Things discovers a spectral materiality-one that informs Bombay horror's haunted houses, grotesque bodies, and graphic violence and gives visceral force to our experience of the genre's globally familiar conventions"--
In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.
Aileen Wuornos was executed in Florida, on the 9th of October, 2002 at the age of 46. She was the 10th woman to be sentenced to death in the USA since the death penalty resumed in 1976. Convicted for the murder of six men, in a two month period, Aileen claimed she acted in self defence however the investigation into these claims was poor and she later retracted her statement announcing to the Supreme Court, "I'm one who seriously hates human life and would kill again." All-too-often female prostitutes have been the victims of male serial killers - the killings of Aileen 'Lee' Wuornos were the inverse of this. She was a child prostitute, fleeing an abusive childhood at the hands of her grandparents, which led straight into a disastrous adulthood of difficult affairs with both men and women. Her metamorphosis from victim to attacker had brutal consequences: a stream of dead men. Following a renewed interest in this woman after the film "Monster", this is her story in her own words.
This history and critique of classic scary films “honors Universal’s horror legacy. . . . an excellent resource for film students and monster movie fanatics” (Library Journal). In 1931 Universal Studios released Dracula starring Bela Lugosi. This box office success was followed by a string of films featuring macabre characters and chilling atmospherics, including Frankenstein, The Mummy, and The Invisible Man. With each new film, Universal established its place in the Hollywood firmament as the leading producer of horror films, a status it enjoyed for more than twenty years. In The Monster Movies of Universal Studios, James L. Neibaur examines the key films produced by the studio from the early 1930s through the mid-1950s. In each entry, Neibaur recounts the movie’s production, provides critical commentary, considers the film’s commercial reception, and offers an overall assessment of the movie’s significance. Neibaur also examines the impact these films had on popular culture, an influence that resonates in the cinema of fear today. From the world premiere of Dracula to the 1956 release of The Creature Walks among Us, Universal excelled at scaring viewers of all ages—and even elicited a few chuckles along the way by pitting their iconic creatures against the comedic pair of Abbott and Costello. The Monster Movies of Universal Studios captures the thrills of these films, making this book a treat for fans of the golden age of horror cinema. “Studio stills and trade ads for several of the films add a suitably scary touch to this treat for fans and scholars alike. ― Booklist “An impressive work of film scholarship.” ― Cinema Retro